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film review: love and saucers

David Huggins comes from a humble background. Raised on a
farm in rural Georgia, he left behind the limited prospects and abusive parents
of his home at age nineteen. Now in his seventies, David lives in New Jersey
where he works part-time at a deli and paints. He is divorced with one son and
collects VHS tapes. Nothing in his outward appearance or manner suggests that
David differs from the crowd in any significant way. To believe this, however,
would be a mistake. Ever since his childhood David has said that
extra-terrestrial beings visit him. All of his paintings are memories from
these encounters, including a romantic relationship with a female named
Crescent. And that VHS collection? All science fiction and horror titles, many
of them centered on alien landings or abductions. Brad Abrahams’ documentary Love and Saucers lays out the entirety
of David’s story, leaving its final interpretation to the viewer.

David Huggins works on a painting in Love and Saucers

He claims his first encounter with extra-terrestrials
occurred in 1952 when he was 8 years old. A small, hairy creature with glowing
eyes appeared to him on the farm, frightening him. Each successive encounter
introduces him to new creatures: a praying mantis-like alien, stereotypical
“little grey men”, and Crescent. David says that he lost his virginity to her
at seventeen; later he discovered they had many children together. These visits
continue even after he moves to New Jersey, although by the 1970’s they’ve
stopped long enough for David to marry and have a (human) son. With time, he
claims, the memories faded but then returned, leading to the break-down of his
marriage. His paintings are a way of working through the memories, sorting and
recalling them, preserving a period of his life that David cherishes greatly.

Stories of alien abduction most commonly garner rolled eyes
and audible scoffs, but David exudes such a warm familiarity whenever he talks,
that one must concede at least he believes in the truth of his experiences.
Most of those around him do too, including his son and his boss. (His ex-wife
declined to be interviewed.) Abrahams’ attempts to maintain his neutrality
throughout, but he is even more careful to shield Huggins from ridicule. The
only academic featured is neither a doctor nor a psychologist, one of whom
might provide alternative interpretations of David’s memories, but Dr. Jeffrey
Kripal, a professor of religion. Far from a skeptic, Dr. Kripal claims to have
had a transcendental experience of his own, naturally inclining him to
credulity.

This lack of skepticism ultimately works because of Huggins.
He is neither a snake oil salesman nor a conspiracy theorist. Although he
believes in events that many others would deem impossible, his personal belief
and those memories suffice. He seems like a delightful man and there are far
worse stories to spend an hour’s time listening to. Director Abrahams presents
more of an enigma, though. His next project on cryptozoology (think: “Big Foot
and Nessie are real!”) has already been announced. Shedding some light on the
eccentrics of the world can prove amusing, or even educational. One only hopes
that he isn’t a card-carrying member of the club.